More than any other Rodrigo album, you feel emotionally spent by the end of ‘You Seem Pretty Sad For A Girl So In Love’, but in the best way possible. This must be the most fully realised journey Rodrigo’s taken us on.

You can hear Peters go through her own blossoming. It takes a while to get there – and some of the tracklist could have been trimmed to keep things from the occasional drift – but by the time you reach ‘Girl’s Just Flying’, she’s healed and immune to the effects of her exes.

An immersive album that documents personal growth and brings their experimental ideas to fruition, completing a metamorphosis. ‘So Help Me God’ was worth the wait.

‘Nature Is Healing’ balances sincerity with HorsegiirL’s whimsy for an album of stone-cold bangers.

Although there are times where she can be hypersexual and crass, her approach to love can be much more nuanced than typical pop-rappers are credited for. Whether she’s talking about money, family or heartbreak, Latto sounds increasingly comfortable embracing every version of herself.

The album shows a fresh side to Vince Staples, and the prospect of him building on its piercing, riotous political gaze is extremely enticing.

Although that firepower and sonic versatility existed on her debut, that newfound ruthless streak makes ‘Looking For People To Unfollow’ such a potent reintroduction. It’s a subtle shift, but one needed to confirm that Vandal has established her own definitive identity to build upon.

This is a deliberately more intense, more complex record than ‘Rogue Carpet Disaster’, one that feels like Static Dress are trying to connect more deeply with whoever’s listening.

Despite the absence of any real bombshells, it’s a pleasure to accompany McCartney as he gets back to where he once belonged.

You cannot deny that these records – ‘Iceman’, in particular – are some of Drake’s strongest work in a while. The trilogy doesn’t restore Drake’s invincibility, but beneath the spectacle and the streaming bait is an ageing superstar still stubbornly clinging onto his crown with both fists.

You cannot deny that these records – ‘Iceman’, in particular – are some of Drake’s strongest work in a while. The trilogy doesn’t restore Drake’s invincibility, but beneath the spectacle and the streaming bait is an ageing superstar still stubbornly clinging onto his crown with both fists.

‘Iceman’ is easily the strongest of the three. Across 18 tracks, Drake attempts to tap back into the slick, laidback sharpness of his ‘Comeback Season’ era, delivering some of his least bloated rap in years.

This is the sound of healing, with Ed O’Brien out of his cocoon and in dazzling flight.

On ‘Of Earth & Wires’, Saleh reveals a new resoluteness as a singer-songwriter, fully embracing pop but without abandoning their experimental curiosity. Above all, they’re using pop as a medium to further advocate for social equality and justice.

You can’t fault Owusu’s ambition, nor his ability to translate his furies and fears into a response that feels genuinely reactive and urgent. On his third album, he’s made a truly modern version of a protest record.

Nobody is making music quite like Harding, she is a special, singular artist. Just be sure to take the same approach to interpreting her lyrics as you would to any great work of surrealism; the joy is in the wondering, not the knowing.

["Knife In The Heart" is] one of the most entrancing bops she’s made in years. .... Here’s hoping she’s got at least another round left in her.

While ‘Dancing On The Wall’ does tread newer ground lyrically on songs like ‘Big Stick’, and at times dabbles with heavier, rock-influenced sounds, it also doesn’t divert too far away from the hyper-saturated synthpop sound the band have nailed since day one. And in MUNA’s world, precise, irresistible consistency can be just as compelling as constant reinvention.

Citing Prince and OutKast as touchstones, the record has a sun-damaged feel that envelopes the darker material without washing it out.

It’s that sense of twisting bleakness into something that sounds thrilling is what makes the album so effective. Lip Critic take the horror of Kaser’s very personal trauma into something strangely communal and alive.

It isn’t flawless: a few tracks blur together in the middle stretch, and some lyrical moments fall flat. But the integrity and conviction behind the creative statement more than compensate.

‘Fenian’ is a spraypainted brick wall of consistency, amplifying the adventure of The Prodigy and Burial, seamlessly but tastefully hopping genres while keeping the vibe up to retain Kneecap’s knack for having a good time to illuminate the hard times.

Kehlani’s self-titled fifth album is a satisfying time capsule of R&B which leans into nostalgia and celebrates how far the singer has come.

‘Your Favorite Toy’ is a few more tracks of that depth away from being the most vital Foo Fighters record since 1997’s ‘The Colour and the Shape’. For now, at least, they have remembered that no-frills punk, played fast and loud, suits them much better than middle-of-the-road dad-rock.

As much as ‘Something Worth Waiting For’ is a confident, seemingly effortless next step into the musical big leagues, it also feels like a warning from Kapetan to himself: to step off the brakes before the whole beautiful machine that is Friko falls apart.

It feels as if Tomora’s true potential will truly reveal itself on future records after finding their energy as a live act. Still for now, ‘Come Closer’ is a debut worth dancing about: exceptional, beautiful and shit tonnes of fun.

Blazing, brilliant second album.

Her wildcard authenticity and fiery free spirit is the reason all eyes are on her now.